Metric Montage
“The pieces are joined together according to their lengths, in a formula-scheme corresponding to a measure of music. Realization is in the repetition of these ‘measures’.”
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Rhythmic Montage
“Abstract determination of the piece-lengths gives way to a flexible relationship of the actual lengths.
In most cases of this sort, nothing more than perplexity is excited in the specialist, and nothing more than a confused impression is aroused in the lay spectator.”
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Tonal Montage
“In tonal montage, movement is perceived in a wider sense. The concept of movement embraces all affects of the montage piece. Here montage is based on the characteristic emotional sound of the piece-of its dominant. The general tone of the piece.”
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Overtonal Montage
“In my opinion, overrtonal montage (as described in the preceding essay) is organically the furthest development along the line of tonal montage. As i have indicated, it is distinguishable from tonal montage by the collective calculation of all the piece’s appeals.”
“This characteristic steps up the impression from a melodically emotional coloring to a directly physiological perception. This, too, represents a level related to the preceding levels.”
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Intellectual Montage
“intellectual montage is montage not of generally physiological overtones sounds, but of sounds and overtones of an intellectual sort: i.e., conflict-juxtapostion of accompanying intellectual affects.”
Sources from Sergei Eisenstein, “Methods of Montage”
